It’s no secret that NBC’s long-running sitcom The Office is in need of a bit of a George Foreman grill to the foot, and with the new faces hitting the small screen in Season 9, we could actually be looking at a whole new Scranton.
The latest face of the series renaissance is none other than Better With You’s Jake Lacy, who will join the series as a potential love interest for Erin (Ellie Kemper). And if the tease from his first scene is any indication, he might just be as excitable and boring as Erin herself — or, he’s pegged to be Jim’s new partner in sarcasm. In a rough-draft scene obtained by EW, Lacy’s character Pete says, “Not only am I the new guy who has to do the coffee runs, but it’s a paper company, so pretty much a nonstop adrenaline rush.”
Add to this that Clark Duke (Greek, and a terrific stint as an obnoxious legal intern on New Girl) is slated to join the Dunder Mifflin team as well while Mindy Kaling’s Kelly Kapoor makes her quiet exit and Dwight Schute (Rainn Wilson) eyes a spinoff, and we’ve got a whole new show on our hands. Well, almost a whole new show.
With Erin the receptionist’s potential interest in a cute, strapping young man with tousled hair and a (seeming) knack for sarcasm, it seems she could be repeating the Jim/Pam pattern. Our one small glimmer of hope is that we’ve long regarded Andy as the Jim to Erin’s Pam, so perhaps this entanglement won’t be so cut and dry. It will, however, be an element that sticks around, because even if the potential romance ignites and then fizzles, Lacy is joining the cast as a regular, so awkward break room lunches will be plentiful.
And as for Duke? He’s got a knack for awkward comedy, not totally unlike Wilson’s Dwight. As Dwight starts to transition to his own series alongside former Office showrunner Paul Lieberstein, the position of office nutjob will be open. Sure, Andy’s got his share of insanity, and Creed is always good for an unexpected laugh, but who could replace the man who brings a real live beaver into the office or creates an office fire just to teach everyone a lesson? Someone who’s equally capable of insanity, albeit a different flavor. Besides, after eight years of Dwight’s farm-style pranks and proclivity for uncomfortable sexual commentary, we need a new kind of awkward. With Duke’s background and his still unexplained character, he’s got potential to fill the throne of uncomfortable silences.
And while our two new characters look like they may fall into similar patterns to Jim and Dwight, let’s hope their dynamic doesn’t mirror exactly the battle royale of the last eight seasons. The series dipped significantly when it attempted to split Michael Scott’s characteristics between Helms and James Spader, so deriving too much inspiration from the series’ other iconic characters can only spell disaster.
Letting the two new characters fill the voids left by their Dunder Mifflin forefathers, however, is a notion we can get behind.
How do you want to see The Office use Lacy and Duke?
Follow Kelsea on Twitter @KelseaStahler
[Photo Credit: Fox/ABC Family]
More:
TCA 2012: The Mindy Project Channels Nora Ephron
Why I'm Finally Breaking Up With The Office
Rainn Wilson's Office Spinoff Coming Soon

Matchbox Twenty frontman Rob Thomas is the latest superstar musician to join NBC's vocal gladiator showdown (or, more simply, 'singing competition') The Voice. Thomas will serve as a mentor for Team Cee Lo Green, lending his wisdom and experience to Green's team of 16 artists as they sing each other out of the competition during the battle rounds.
The "Smooth" crooner tweeted this photo of himself and his eccentric coach and has already put the hashtag #teamceelo to fine use. "I'm really excited to work with Cee Lo and love the idea that I may be in the room with a future superstar that the world has yet to discover," Thomas told Us Weekly. Thomas joins the likes of Mary J. Blige and Michael Buble, who will serve as mentors alongside coaches Adam Levine and Blake Shelton, respectively. (Meanwhile, the elusive mentor to coach Christina Aguilera's team has yet to be announced.) This isn't Thomas's first trip to the TV airwaves — the "Smooth" singer guested on an episode of It's Always Sunny in Philadelphia, popped up on Punk'd (the real version) and just last week co-hosted with Kelly Ripa on Live! with Kelly. With The Voice, Thomas stands to make an even bigger splash on television, especially since every musician around him is joining a singing competition. Let's just hope he doesn't cause a hopeful contestant to give him a meltdown. Season 3 of The Voice premieres on September 10 on NBC. Follow Marc on Twitter @MarcSnetiker [Photo Credit: Rob Thomas] MORE: Emmys 2012: Carson Daly Talks 'The Voice' First Nomination and Season 3 'The Voice' Adds Michael Buble to Team Blake 'Idol' Considers Brad Paisley: The Answer to 'The Voice' Star Blake Shelton

Happy 4th of July, kidderoos! There really is nothing more American than Glee, amirite? So I can think of no better way to celebrate the birth of our great nation than reading Interweb recaps of The Glee Project — are you squeezing in your computer time somewhere between your fourth hot dog and the parade? Or are you about to run out to watch the fireworks? Firework! Speaking of fireworks, there were some — of the emotional variety — on last night’s The Glee Project (how’s that for a segue?).
The theme of last night’s episode was “Adaptability.” Which, we quickly came to learn, was a clever ploy to keep the contenders on their toes. Think you know what song you’re going to sing? Wrong! Think you know the choreography? You don’t! The mentors had scheming twinkles in their eyes as they threw the kids curveball after curveball. There are no fastballs or knuckleballs in adaptability week, only curveballs. And goofballs (I’m looking at you, Michael).
First shake-up of the night had to do with the homework assignment. This time around, the contenders wouldn’t get to pick their own lines. Oh no, the horror! Like, really, Robert? You think that’s a challenge? I scoff at your challenge; really, you just made this easier on the kiddies. Now no one had to risk damage to life and limb in a fight to the death for the best. line. ever.
Wait a sec! I totally forgot to talk about the single most important part of the episode, which happened right at the very beginning (you’ll have to pardon my scatterbrainedness, I’m just so excited about all the patriotic Jell-O I’m going to devour later today). So, the thing is, Aylin and Charlie decided to be “just friends.” This is a really good call, they both agree, because this means they can channel all the energy they used to put into frivolous activities like snuggling straight into figuring out how best to kick each other’s asses. There is not a hint of sarcasm so much as floating in the general vicinity of Charlie as he says, “Friendship. Is awesome.” Yeah, right.
Okay, back to the homework assignment. The super-secret special mentor for adaptability week is… Artie! Kevin McHale saunters into the dusty choir room, sans wheelchair, and whips off his glasses Clark Kent-style for dramatic effect. Ali bursts into a bout of uncontrollable giggling. She loves him, you see, because he never cheats when he’s using his wheelchair. But Kevin has some — dramatic pause — bad news for the kidderoos. Thought you were going to sing Alanis Morissette’s “You Oughta Know”* as a group? Wrong! It’s solo time. Each contender will have to sing the song individually. The color drains from Shanna’s face, leaving her a lovely shade of ashy pale green — she doesn’t know the words.
*Fun fact: “You Oughta Know” was written in 1995 and is based on the tumultuous relationship Alanis had with Full House star Dave Coulier. That’s right, Uncle Joey. I guess Alanis doesn’t like impressions or hockey.
NEXT: Twist 1.5 revealed!Thankfully, for the viewers at home at least, the Glee Project’s team of ninja superstar editors splices all the solos together so we don’t have to listen to “You Oughta Know” 10 times. Kevin and Robert, however, do have to listen to Alanis’ anthem 10 times, which explains the ringing in their ears and sudden urge to break a few pieces of flatware before settling in on the sofa with a Snuggie and a pint of Chunky Monkey. Oh ‘90s music, how you make me feel things.
The winner of the homework assignment is Aylin. Congrats, Aylin. Woohoo, it’s your party.
And we’re onto twist number 1.5 (because I don’t think the first twist was really much of a twist at all, but rather more of a lil twistlet). Neither Kevin nor Robert will be announcing the song for the music video this week, because it’s a surprise. The contenders won’t learn which song they will be expected to sing until they’re in the recording booth with Nikki. Same goes for choreography. They’ll be learning their two-steps on set.
At this point, it dawns on me that adaptability week is a really good idea. Essentially, what the powers that be are doing is testing whether these kids have what it takes to be working actors. As SAG card-carrying, working actors in Hollywood, the contenders will be forced to change things up at the drop of a hat. You think Lea Michele needs more than two microseconds to learn the latest Kelly Clarkson ballad? You think Harry Shum Jr. ever needs to rehearse his choreography before the cameras are rolling? You naïve sons of guns.
Turns out, the song for this week’s music video is Jessie J’s “Price Tag,” and the premise of the video is a class war between the mean rich kids and the broke kids who just want to have fun. The recording session and video shoot are a whirlwind of cha-ching cha-chings, so here’s a list of highlights.
1. Ali decides to do a bit of spoken word in the recording booth. Nikki is not impressed.
2. Nikki is impressed with Michael, who decides to let loose and be a total goofball. Also impressive are Shanna, who didn’t “know this song from Adam,” Aylin, and Lily.
3. Abraham is freaked out about learning choreography on set. He’s just not a fast-learner, you know? He starts to rock back and forth a bit, cradling his knees to his chest.
4. Robert reminds the viewers at home that this is adaptability week. Woah, did you know the theme was adaptability? I had no idea!
5. Charlie gets into his bitchy rich person character by declaring into a fake cell phone while wearing a palm tree-printed Hawaiian shirt, “I don’t care how many ocelots you have.”
6. Mario clears things up a bit by telling us that his vibe is “girls and money.” Are you a pimp now, Mario?
7. Erik dubs Mario the problem child, stating he has never had such a difficult time with anyone on set. In doing so, Erik accidentally reveals that he has the same disorder Guy Pearce has in Memento, because how could be forget Charlie from last week?
8. Blake is an awkward dancer.
And there you have it.
NEXT: On to the reveal of the bottom three!The judges announce that Aylin had the standout performance of the week, and that Shanna, Michael, and Lily are also safe. That leaves Mario, Ali, Abraham, Charlie, Blake, and Nellie to learn their fate. In the final twist of the night, Robert announces that all six of them will have to sing for Ryan Murphy, paired up in duets. Sheeeeeit. Here’s what happens.
- Blake and Nellie are asked to sing “Waiting for a Girl/Boy Like You” by Foreigner. They’re up first. Blake and Nellie take to the stage and the lights dim; I can already tell we’re in for a treat here, folks. Blake and Nellie (Blellie?) have put together a heart-wrenching soap opera of a rendition for the judges, one filled with emotional singing into each other’s faces and a forehead kiss that’ll make your heart squee. Upon finishing the song, Ryan Murphy proclaims, “That wasn’t a Last Chance performance, that was an opera.” These two are clearly safe, and scurry off stage holding hands.
- Ali and Abraham are next, singing Katy Perry’s “Last Friday Night.” This song, I think, is a trainwreck. They start off by finishing each other’s sentences, and then things go from bad to worse as their voices ricochet off one another during their harmonies. And, Abraham, would you mind looking at Ali while you’re singing? I know you dyed your hair last week and you’re super masculine now, so would at least pretend that you like her? But oh, wait, apparently I know nothing about music and don’t even have ears, now that I come to think of it, because Ryan Murphy thought their performance was charming. Ali is like a “funny little Dolly Parton,” he proclaims, which I guess is a compliment.
- Mario and Charlie are last, singing “Don’t Let the Sun Go Down On Me” by Elton John and George Michael. Our brief glimpses of their rehearsal time together is beyond cringe-worthy; these two clearly can’t stand each other. On stage things get intense. Mario nearly breaks down sobbing and I daresay I see the glimmer of a tear in Charlie’s eye, which makes perfect sense because there’s nothing like an Elton John ballad to make grown men cry. Ryan Murphy thinks it was sweet, but it’s clear to everyone that one of these two cry babies is going home this week.
Robert walks into the choir room following the Last Chance performances with his head hung so low that I think he’s about to pull one of the contestants aside to tell them their grandmother died. But no, he just wants to say, “The list is up.” Robert pulls out a paisley handkerchief to wipe his eyes as he sulks out of the room.
Going home this week is Mario. Charlie and Abraham are happy because they know that neither one of them were very good this week. I’m happy because Mario’s the worst. Can’t say that I’ll miss ya, bud! Mario makes his exit as proud as ever, stating (over swells of violins) that he hopes people watching this show will find him inspiring. In a rare and fleeting moment of strength and humility, Mario declares, “Blind is the last thing on my list.”
I can’t wait for more shenanigans next week, but for now it’s time for a red, white, and blue rocket-shaped Popsicle. Viva America!
[Image Credit: Oxygen]More:
Glee Project Recap: ‘I Love a Hot Mess’
Glee Project Recap: ‘Stop Going For My Wenis’
Glee Project Recap: ‘Oh God, It’s Going to be Deep’ Glee Project

I'd tell you to quit playing games with my heart, 98 Degrees, but I wouldn't dare after Backstreet Boys uttered the words. (I am nothing but faithful.) After all, back in March, you teased me with a possible reunion tour before Nick Lachey said "I Do(n't)" to the idea on Twitter. And now, just three months later, you confirm that you will indeed reunite, but only for "Una Noche" in August at the MixTape Festival in Hershey, Penn. Oh, 98 Degrees, how you tease me with your brief re-emergence and easy punnery!
Of course, I'm holding out hope that reviving the sweet memory of dressing in similar hues will bring out the band's desire to take their show on the road. And it seems Drew Lachey himself is not entirely closed off to the possibility. Talking with Ryan Seacrest Wednesday, Lachey told the radio host: "This music festival right here just kind of seemed like the right time to get back together and do a show and kick the tires and see how it feels."
Be still, my Kangol-loving heart. But since the men have yet to grab their gelly roll pens to sign on for a full-on tour, we'll have to settle for their MixTape performance. And since us Generation Y children are a demanding demographic that has managed to will '90s nostalgia into existence, I have some requests for the Lachey brothers, Jeff Timmons, and Justin Jeffre. So, without further ado, here are 10 things we need to see during 98 Degrees' reunion at the MixTape festival, which will also host Kelly Clarkson, Carly Rae Jepsen, LL Cool J, DJ Pauly D, NKOTBSB, and, did I mention, will be the BEST FESTIVAL EVER TO HIT EARTH.
1. 98 Degrees styled by House of Deréon. I dream about a costume wardrobe that's a mix of Destiny's Child with just a little touch of 98 Degrees' cohesive style — this would make me smile. (Also, why isn't O-Town locked in for MixTape?) But if there's anything that 98 Degrees' patented mix-and-match-and-match-some-more wardrobe, it was a few sequins. After all, after chasing a bedazzled trophy on Dancing With the Stars, isn't Drew going through sequin withdrawal?
2. Shirtlessness. Plenty of shirtlessness. Remember what I just said about 98 Degrees' wardrobe? Well, I take it back. I want to see 98 Degrees styled by no one other than the big man upstairs. Nick, Drew, and Jeff, it's been far too long since I was embarrassed to focus on your abdominal area in Teen People for longer than 10 seconds when my parents were in the room. And Justin, it's been far too long since I've been awed by the creative ways you manage to keep your shirt on in photo shoots. I don't care that it's been 14 years, several babies, and numerous reality show appearances since you rose onto the scene via 98 Degrees and Rising, I won't be satisfied until every last one of you continues to gain my affection by losing your shirts. As Jeff Timmons for pointers!
3. 98NKOTBSB. As much as I would love to see 98 NKOTBSB bands, that is not what this means. Instead, MixTape has no choice but to present fans with a super-hybrid version of the hybrid boy band. New Kids on the Block and the Backstreet Boys discovered a mint when they realized the power of '90s resurgence — why not cash in with another addition? I know, I know. 98 Degrees is a threateningly handsome and talented bunch. But it's worth it for a mash-up of "Quit Playing Games (With My True To Your Heart)." Plus, these boys have skills. See above.
4. A Carly Rae Jepsen/Justin Jeffre meme. If memes existed in 1998, Jeffre would be aching for one. The baritone had long been labeled the 98 Degrees outcast, purely for his preference for clothing. I've mentioned it before, but one of my favorite games to play in the '90s was "Where Is Justin Jeffre?" Take a look at these photos to see if you can spot him:
He blends in perfectly wearing this shade of sedimentary. He’s not just a background vocalist — he’s actually the background. More layers! More layers! 5. Dance moves. 98 Degrees is mostly known as an S&amp;M group (Stand and Model), but I would hope more than a decade in the industry would have taught them a move or two. And, if they were to so be inspired by lesser boy bands like 'NSYNC (yes, I said it), that would be fine too. Especially, in fact, if 98 Degrees mimicked my all-time favorite '90s dance move, seen at 2:43 in 'NSYNC's "I Want You Back" video. And now let me introduce you to the choreographer:
6. A Michael Jackson medley. This one's for serious, friends. Having broken my Walkman listening to the band's "She's Out of My Life" cover more times than I tied and untied my Doc Martens, I have no choice but to demand a follow-up following the King of Pop's 2009 death. And as much as I loved their "Man in the Mirror" at Jackson's 30-years-as-a-solo-artist celebration in 2001, I demand that 98 Degrees, yes, "Beat It."
7. Cameos. Lots of cameos. Speaking of legends, 98 Degrees scored a hit with their Mariah Carey-supported "Thank God I Found You," and a fan favorite with the Stevie Wonder-headlining "True To Your Heart." If Mariah and Stevie cannot appear live, I will accept the tunes being bolstered by the talents of Joe and Mulan.
8. A Recreation of the "I Do (Cherish You)" video. But please force Ali Landry to eat Doritos and Harvey Walden to scream in Dustin Diamond's face.
9. The announcement of another Christmas album. Because This Gift has been played so often in my house on Christmas, Mannheim Steamroller (or, more accurately, my Dad) threatens to steamroll over it. Please, 98 Degrees, add some variety to my holiday! Plus: The spoken verse portion of "Silent Night" is not nearly long enough to fill space during Christmas dinner.
10. A performance of "The Hardest Thing" while the band holds a Furby, drinks Surge, eats Tastetations, dons frosted tips, and tells us they will, in fact, go on a reunion tour. Because, clearly, I need this so bad.
Follow Kate on Twitter @HWKateWard
[Image Credits: Motown, Universal, Columbia/SME Records, Chippendale's] More: 98 Degrees Reuniting? Good — They're the Best Boy Band of the '90s! 98 Degrees' Jeff Timmons: Joey Lawrence Better Strap Himself In for Chippendale's
98 Degrees

Time flies when you're having fun — or filming a scene for a movie. Ben Stiller and Kristen Wiig look almost unrecognizable while on the set of their new movie, The Secret Life of Walter Mitty, which tells the story of a shy photo manager (Stiller) whose life is turned into an adventure when an important negative goes missing. Check out the old Stiller and old Wiig image here:
[Photo credit: Splash]
Seriously, it looks like this comedy duo has aged nearly 30 years. Of course, at this point we should be used to Wiig's ability to transform into any/all characters she deems necessary, thanks to her numerous SNL impressions. But it's still an impressive sight to behold. And for his part, Stiller looks so different it'd even be difficult to pick him out of a lineup.
However, this isn't the first time Hollywood celebs have aged to almost epic proportions in the name of cinema. Grey hair, wrinkles — you name it, these stars have flaunted it. Behold: the power of makeup!
Leonardo DiCaprio in J. Edgar
Though he's only 37-years-old, DiCaprio managed to successfully transform into an elderly version of J. Edgar Hoover. Though in our eyes he will always be the dreamy Jack Dawson from Titanic.
[Photo credit: Warner Brothers]
Brad Pitt in The Curious Case of Benjamin Button
Watching a man age is one thing, but to watch him age backwards is quite the spectacle to behold. Pitt's ability to morph into a variety of different age brackets proves just how great of an actor he really is. And there's nothing curious about that.
[Photo credit: Paramount Pictures]
Michael J. Fox in Back To the Future II
Who needs a time machine when you have a bevy of talents makeup artists at your disposal? Watching poor Marty McFly encounter his future (soon to be unemployed) self was not only entertaining, but also highly convincing.
[Photo credit: Universal Studios]
Lisa Kudrow and Alan Cumming in Romy and Michele's High School Reunion
This 1997 comedy was kind enough to provide a dream sequence set 70 years in the future, where both Romy and Michele try to make amends for their decades-long feud. As you can see, worrying really will give you wrinkles. What would Phoebe think?
[Photo credit: YouTube]
Michelle Pfeiffer in Stardust
When an actor/actress is able to go from a purrfectly sexy Catwoman to a decrepit old witch, you know they're bound for greatness. Enjoy youth while you can kids because, as Pfeiffer (middle) shows you, aging isn't always a graceful process.
[Photo credit: Paramount Pictures]
Helena Bonham Carter in Big Fish
Though she's always been known for her rather eccentric roles, Bonham Carter outdoes herself in the fright department in this Tim Burton classic. Be careful folks — she's got her eye on you.
[Photo credit: Columbia Pictures]
Katy Perry in "The One That Got Away" Music Video
We've seen her covered in whip cream and watched her boobs burst into flaming fireworks, but here Perry showed her fans a part of her we won't see for another 50 years or so. It just goes to show, though, that we'll love this girl at any age.
[Photo credit: YouTube]
Kristen Wiig and Ben Stiller
More:
Why That's My Boy Is the Right Move for Adam Sandler's Career
Tom Cruise: Is He Too Big for Good Roles?

Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
="font-style:>

A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.

A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
="font-style:>

Oh, American Idol. You know exactly how to get me every year. Around this time every season, I find myself reaching for the Kleenex, hoping to stop my tears from overflowing into my oversized Coke cup. And just when I think I can’t cry anymore, you give me something that makes me weep more than Ryan Seacrest peering at an out-of-business tanning salon. You force a stale performance of “I Don’t Wanna Miss a Thing” on me.
Sure, the annual hometown visits are touching and all, but watching Wednesday night’s penultimate performance episode, I found myself shedding more tears hearing our Top 3’s disappointedly uncreative song choices. Really, Jessica? After already choosing overplayed Idol songs like “Turn the Beat Around” (Season 2’s Carmen Rasmusen, Season 3’s Diana DeGarmo, Season 6’s Haley Scarnato), “Fallin’” (Season 1’s Kristin Holt, Season 5’s Mandisa, Season 9’s Michelle Delamor, Season 10’s Haley Reinhart), “Try a Little Tenderness” (Season 4’s Nadia Turner, Season 5’s Taylor Hicks), “Bohemian Rhapsody” (Season 4’s Constantine Maroulis, Season 5’s Kellie Pickler, Season 7’s Michael Johns, Season 8’s Adam Lambert), “Proud Mary” (Season 2’s Trenyce, Season 4’s Fantasia, Season 7’s Syesha Mercado), “You Are So Beautiful” (Season 5’s Taylor Hicks, Season 8’s Danny Gokey), and “And I Am Telling You” (Season 1’s Tamyra Gray and Melanie Sanders, Season 6’s LaKisha Jones, Season 8’s Nick Mitchell, Season 10’s Ashthon Jones, and Oscar winner Jennifer Hudson), you decide to sing Aerosmith’s “I Don’t Want To Miss a Thing,” already performed on Idol by Season 2’s Josh Gracin, Season 4’s Lindsey Cardinale, Season 6’s Antonella Barba, Season 7’s David Cook, Season 6’s Allison Iraheta, Season 9’s Aaron Kelly, and Season 10’s Lauren Alaina? (For those of you keeping count, Jessica’s version makes eight — none of whom have killed it like Steven Tyler.) And seriously, Joshua? Choosing John Lennon’s “Imagine,” a song so manipulative, even David Archuleta’s dad is micromanaging it? (Imagine there’s no “Imagine” on Idol!) And, Phillip? Picking a song you probably got high listening to in your friend’s den while eating cheesesteaks? Well, at least you probably had more of a connection to Matchbox 20’s “Disease” than Joshua did with “I heard it on the radio” tune “Imagine.”
It’s actually concerning — while, in years past, we were forced to suffer the judges’ faulty judgment (you can blame David Cook and Allison Iraheta’s aforementioned performances of the Aerosmith hit on the judges’ choice), this is the first season of Idol in which I found myself questioning the singers’ tastes. I’d love to give them the benefit of the doubt and simply blame fatigue (see: Joshua’s dreary-eyed, Ambien-fueled responses to Ryan’s questions), but you’d think the contestants would at least have a few magical beans in their back pockets. It’s like Top Chef contestants showing up to the competition without at least one dessert recipe in their arsenal — it’s hard to accept a delicious main course if it’s followed by an underwhelming chocolate soufflé. So why not cart with you some extra recipes for success?
NEXT: Phillip: Music’s Twin Sets and Butterfly Clips.
So as much as I want to eat up our singers’ post-Idol careers, I’m finding myself wondering if they’re even ready to dig in. Would we be satisfied with a Joshua Ledet album filled with tunes so saccharine, they could fill a candy store? A Jessica Sanchez album so predictable, you can call it Randy Jackson? A Phillip Phillips album so 1990s, you could slap a pair of Doc Martens on it?
Perhaps my 1990s nostalgic has hypnotized me with visions of Lisa Frank unicorns and gelly roll pens, but I’m totally buggin’ thinking of that last option, Tai. Because while Joshua and Jessica’s choices were roll-your-eyes predictable, Phillip has managed to carve out an audience for himself that enjoys his particular recipe. Take one tablespoon of growl and combine it with one cup quirk and 100,000 screaming 13-year-olds, and you have a combination as delectable as it is cannibalistic. So while “Disease” might have been just mildly infectious, it was easy to forgive the performance after antidote that was Madcon’s “Beggin’.” (Holy English class, so many metaphors!) I have to give Randy-esque mad props to Steven Tyler for his unconventional choice for Phillip — his foresight let the contestant to deliver his best performance of the season. The acoustic beginning, reminiscent of Kris Allen’s “Heartless,” his playfulness with the melody, the outdoor concert vibe — it’s no wonder Steven called Phillip the “New Age Boss” after whipping out his poetry: “When you’re facing the sun, the shadows stand behind you. My hands are small I know, but they’re not yours, they are my own.”
Though Phillip’s chest hair was screaming for it, the judges failed to give him a deserved standing ovation for “Beggin’” — but he did finally score recognition for Jimmy Iovine’s choice, Bob Seger’s “We’ve Got Tonight,” a lovely rendition that helped audiences remember that Phillip actually has a beautiful voice behind the guitar, growls, and dorm room move-in day wardrobe. (Even the insipid Swaybot clapping couldn’t bring him down.) Randy may be wrong calling it Phillip’s best performance yet — “Beggin’” and last week’s “Volcano” exploded on the Idol stage much more — but performing the song more than sealed a spot in the final two, especially after Steven’s praise: “Get used to it, because you never will. I still bleed and my lips still smile and my breasts won’t always be firm.”
But the pimp spot isn’t the only thing guaranteeing Phillip a Top 2 finish — his hometown footage in Georgia was far more touching than his other contestants’ visits. Watching Phillip go home, we laughed (the “Phillip, you still owe me $10” sign), we cried (the usually stoic Phillip breaking down, and subsequently breaking hearts, during the parade), and felt simultaneously touched, petrified, and eager to read up on gun laws seeing Phillip Phillips Sr., packing heat. Phillips spot in the final two is as sure as the future restraining order he will file against the rabid fan who pulled him out of his limo.
NEXT: Animal crackers in my Idol
Speaking of (pawn shop) turkeys, I have a feeling that Jessica will miss the final two, no matter how much she don’t want to. It’s too bad — the 16-year-old deserves a spot in the finals, if not a chance to soak in a confetti shower. And her approach Wednesday night was quite savvy for a girl from a generation that documents all their embarrassing teen crushes online. (The pen and paper won’t seem so lame in 10 years, kids!) Why not become the next Mariah Carey in a world all too devoid of ridiculous photoshopped albums full of ridiculously amazing vocals? So I wanted to love Jennifer’s choice, “My All,” as much as I did when I jotted down the lyrics in my eighth grade notebook. And I wanted to see the rainbow at the end of Jimmy’s “I’ll Be There,” a song Mariah herself covered dutifully and passionately. But it turns out Jessica and Mariah’s songs are as bad a fit as TRL and ice cream carts . The songs lacked Jessica’s patented pizzazz, her penchant for wowing audiences who underestimate her abilities because of her young age. Instead, her youth showed — as did the fact that she’s simply not Mariah, no matter how much Tommy Mottola is interested in her. Add to that yet another unsettlingly mature, midriff-baring outfit and a song of her choosing as plain as Liv Tyler and unfrosted animal crackers, and Jessica seems poised to settle for a Top 3 finish. That’s despite Steven’s assessment that Jessica might end up Season 11’s winner: Said Ryan, “Did you just predict a winner?” Said Steven, “Don’t I always?”
And isn’t that, ladies and gentlemen, the exact problem with our judges’ panel? Because while Steven might have supported Jessica following her performance of “My All,” he flip-flopped so quickly in Joshua’s corner, he might as well sit on an IHOP griddle. Because, once again, our panel of three cannot seem to jump off the Joshua train. Just see the trio’s standing ovation for Randy’s choice, “I’d Rather Go Blind,” a performance so tired, it just read a Nicholas Sparks chapter and turned in for the night. (I’ll spare you the “I’d Rather Be Deaf” jokes.) Not to mention their love for the uninspired “Imagine” and Jimmy’s choice, Mary J. Blige’s “No More Drama.” Look, I respect Joshua’s talent and feel for him knowing he’s been unable to score any constructive criticism, but an octave-spanning run at the end of Joshua’s songs is as expected as Strawberry Alarm Clock at one of Nigel Lythgoe’s parties. So as much as the lady who bedazzled Joshua and Jessica’s jackets might tell her cats that she hearts the contestant, Joshua’s performances are still anything but spontaneous, Jennifer. Still, the judges will continue to praise Joshua for schlocky stripping (“That’s what being a great artist is about,” says Jeff Timmons Randy?) until they’re riding with Twinkies, cockroaches, and John Cusack into the End of Times.
But with Idol’s end of Season 11 times fast approaching, can you imagine a final two with Jessica? Or do you agree that Phillip and Joshua are finals-bound? What made you cry more: Phillip’s hometown visit, or the fact that you felt jealous watching him caress his own leg during “We’ve Got Tonight”? Does Ryan deserve a raise of coping with two out of three contestants who are virtually not interview-able? Does Joshua have a future in politics, what with his skill for killing babies? And wouldn’t Stefon love West Lake, Louisiana? It. Has. Everything. Parades, crawfish, women who cry holding babies, women with pirate eye patches…
Follow Kate on Twitter @HWKateWard
[Image Credit: FOX]
More:
American Idol: Season 12 Will Boast 'Creative Tweaking'
Idol Castoff Hollie Cavanagh on Her Bond with Joshua Ledet and Colton Dixon’s Fangirls American Idol Recap: Hollie Go-Lightly-Away

Over the course of its 11 seasons, American Idol has produced a healthy supply of classic Idols. I’m not talking about the Carrie Underwoods or Jennifer Hudsons, superstars who, during their tenure on the show, only teased their future abilities, making us unsure as to whether they actually did have a shot to become an A-lister after the glitz of reality TV wore off. I’m talking about the classic Idols who not only accumulated an overzealous fanbase, but also managed to make an already addictive Idol even more intriguing, no matter their success level following the show. I’m referring Kelly Clarkson, Clay Aiken, Ruben Studdard, Fantasia, Bo Bice, David Cook, Kris Allen, Adam Lambert, Haley Reinhart, and, yes, I’d even say Blake Lewis, who revolutionized the series in ways no one gave him credit for. (No one truly made any song, as Randy would say, his or her own until Blake beat-boxed his way into our hearts, and then into obscurity, during Season 6.)
These Idols might not have been the most successful to grace the stage (Kelly withstanding), but they certainly were the most entertaining. They blew us away with their passion and talent, and drew us in even further with intriguing personalities. If we brought this to a rank, they might very well make up my Top 10, if we’re solely counting entertainment value on the Idol stage. So it’s surprising to hear the judges’ panel rank Joshua Ledet as one of the two best Idols of all time, when I’d be hard pressed to find him a spot in the Top 20.
Don’t get me wrong: Dude is talented and he might transform into an industry superstar, which is good since his “Ain’t Too Proud to Beg” suit made it clear he has no future as a botanist. But, unlike the judges, I can’t see what’s unique and exciting about the singer, who’s failed to garner enough criticism to encourage him to show us anything unique and exciting. Instead, week in and week out, our judges give him standing ovations for churning out performances more fit for season 3 than a post-David Cook season 11. Not only that, but they named him one of the best singers to ever exist in 50 years. So, sorry, Aretha Franklin, Freddie Mercury, Michael Jackson, and Beyoncé. Joshua, a star of a reality show on a network that made a name for itself airing a show about bored police officers that bust drunk idiots, has got you had.
Look, I understand hyperbole. It’s likely the judges don’t actually feel Joshua could be stacked against those greats, no matter how many times the ejector button shoots them out of their seats. But Joshua’s “Ain’t Too Proud to Beg” was a faithful cover of The Temptations hit that was only slightly better than George Huff’s rendition in Season 3. And, while Joshua ended “To Love Somebody” on many a high note, the performance was just as listenable as Clay Aiken’s version in Season 2, but no more. But perhaps nothing shows the judges’ unfair favoritism towards Joshua than their high praise of Joshua and Phillip’s duet of “You’ve Lost That Lovin’ Feeling,” a performance not only horrendous because of its pitchiness, but also because of the fact that Joshua and Phillip failed to play sweaty shirtless volleyball after the performance. Steven, in fact, labeled it “perfect,” despite the contestants’ inability to keep a straight face during the entire performance — they broke so often during the song, all it was missing was Jimmy Fallon.
NEXT: Phillip's Self-Sabotage?
One could even say the judges also harbor favoritism for our favorite pawn shop worker, Phillip, who brought us self-sabotage of Jason Castro levels last night. There was the aforementioned “Lovin’ Feeling,” the worst duet to hit the Idol stage since James Durbin’s and Jacob Lusk’s “I’m Into Something Good.” There was his take on The Zombies’ “Time of the Season,” which saw him struggling on high notes he should have never attempted to hit. (The judges might have been surprised with his straight-forward take, saying, “He can really sing the melody!” but they failed to take into account that he couldn’t sing it well.) Then there was the biggest Idol no-no of all: The heartthrob brought his girlfriend to CBS Television City. Phillip had to have known that would send a flurry of his fans straight to their Lisa Frank diaries, where they bitterly write down Joshua’s phone number, sniffling away the tears as they realized that maybe Phillip wasn’t singing right at them every Wednesday night after all. Sniff.
But, as much as I adore Phillip and the gray, cringe-y way he makes Tommy Hilfiger cringe, self-sabotage is hardly as dumb as pairing with the cowboy during group week. In fact, Phillip would be much better off being sent home Thursday night, a scenario as plausible as the possibility that J. Lo will wear sequins and make me wonder who her very talented doctor is. As we’ve seen over the course of the past 11 seasons, a rock star winner on Idol is faced with a disadvantage. Forced into the music scene as a solo act showered in confetti on reality television, rock winners — see: David Cook, Kris Allen, Lee DeWyze — have found it difficult to build cred in the industry. On the other hand, an artist like Chris Daughtry — who was just as recording-ready as Phillip during his tenure on Idol in Season 4 — managed to accumulate a group of fans dedicated to making sure he built the acclaim and respect he so deserved on the reality show. Because, at this point, Phillip doesn’t need Idol. He know who he is and what kind of album he needs to record — one that should include lovely and listenable performances like “The Letter.” As guest mentor Steven Van Zandt said, “Leave him alone. He’s good. Badabing, badaboom, parkway, other New Jersey stereotypical phrases.”
It’s hard to believe I’m imagining an Idol world in which Phillip goes home, and Hollie may stay. What is this, opposite night? Am I now supposed to compliment Brian Dunkleman on his hosting skills last night? Where am I? What year is it? How did I get here? Who does No. 2 work for? But not only do I believe Hollie will stay, but I believe she should stay. Granted, Idol set up her underdog storyline perfectly: After being at the receiving end of insults from judges and fans alike, Hollie began her Idol climb last week with, appropriately, “The Climb.” And now, we hand the British lass a British Night theme. Cut to: A tepid performance of Tina Turner’s “River Deep, Mountain High” that the judges conveniently failed to criticize as much as Jessica Sanchez’s Tina Turner cover, and a version of “Bleeding Love” that allows audiences to compare her with another reality show winner, the U.K. X Factor’s Leona Lewis. (Even though Steven couldn’t, since he managed to avoid all radios and doctor’s offices in 2007, having never heard the song before.) It’s no surprise the show seems to be supporting the contestant: Idol would be better off with Hollie on the show — there’s nothing the reality series’ viewers love more than to bash a contestant that undeservingly outlasted their favorite. (See: Danny Gokey, Sanjaya Malakar, Syesha Mercado, Scott Savol, etc.) To rid Idol of Hollie rids the show of some of some desirable intrigue that could make The Voice-hating ratings fairies at Fox celebrate.
NEXT: Where does Skylar fit in?
So I wouldn’t be surprised if Hollie’s reality-friendly storyline picked up the young female vote. Which means Season 11’s other young girls might also be in jeopardy come Thursday, especially if audiences failed to connect with Jessica’s spirited-but-disturbingly-sexy cover of “Proud Mary,” presumably performed against a backdrop of set items stolen from the set of Chicago. (I’ll take “Potently Inappropriate Dresses For a Teenager” for $600, Alex!) And it doesn’t help her cause that the judges criticized her for taking on the dragon that is Tina Turner, without having doled out the same criticism to supposed slayer Hollie. (Not to mention the fact that J. Lo wondered rhetorically, “How could you let this girl go home?” which pretty much introduces the possibility that Jessica could leave CBS Television City Thursday night.) But I’d find it impossible if anyone in the viewing was unable to connect with Jessica’s fittingly beautiful version of “You Are So Beautiful,” which was so alluring and perfectly executed, it’s despicable to think the young singer has never been gifted Idol’s pimp spot. (Predictably, Joshua scored the spot Wednesday night for the second time.) Come on, Nigel! She’s sitting on the floor! In the name of Fantasia and Katharine McPhee, don’t you know that floor-sitting leads to an automatic Idol moment?!
And then that leaves us with Skylar, the consummate professional who, week in and week out, offers up fun performances so contagious, I hope a trip with CBS Television City comes complete with a CDC vaccine shot. But that’s precisely her problem: Skylar lacks not only the tearful histrionics that garners votes, but the intriguing storyline that sends fans racing to their cell phones. Joshua is the anointed one, Phillip is the rebel, Jessica is the victim, and Hollie is the dark horse. But how do you categorize Skylar? Sure, her “Fortunate Son,” was a perfect song to show off her stage presence, and anyone who didn’t fall for “You Don’t Have to Say You Love Me” is as weird as that couple on the bench. But the CCR song’s counter-culture theme might not gel with her fanbase, and Skylar’s latter performance is far too perfect a swan song to quell my nerves surrounding her fate Thursday night. And after her bottom three visit last week, perhaps only luck will keep her from riding an ATV right out of CBS Television City. Perhaps she should have performed “Knock on Wood” after all.
Do you get the Joshua hype, readers? Who’s headed home Thursday? Did Jessica, Skylar, and Hollie sing “Higher and Higher,” or was the song performed by a series of American Girl Dolls? Why did Elise Testone get a goodbye montage in the opening credits, but Colton Dixon didn’t last week? And did Steven Van Zandt learn his chair-sitting etiquette from Flashdance?
Follow Kate on Twitter @HWKateWard
More:
American Idol Recap: Order Restored
American Idol Recap: They Want to Break Free
Ryan Seacrest Re-Ups with American Idol: Why We're Thanking Our Lucky StarsAmerican Idol